Les Miserables – Directed by Tom Hooper
By Ben Nielsen
After nearly thirty years on the stage, Claude-Michel Schonberg and Alain Boublil’s Les Miserables finally makes it to the silver screen. The highly anticipated adaptation is directed by Tom Hooper, and features a stellar cast including Hugh Jackman, Anne Hathaway and Russell Crowe.
Hooper really does provide a handsome offering, handling Victor Hugo’s multi-faceted plot exceptionally well. The filmic style is definitely reminiscent of his previous work, but is this time combined with epic musical sequences.
Most scenes are treated exquisitely, like the grandiose shipyard and the simplicity of Fantine’s workhouse. The use of extreme close ups is effective but does become increasingly tiresome. Because of this angle, the transition to other characters and points of interest is abrupt and disconcerting (especially noticeable during the ‘Prologue’).
Hooper’s adaptation famously utilises live singing; with generally spectacular results. While it allows the actors to truly invest themselves in each scene (for example, ‘Empty Chairs at Empty Tables’ sung by Eddie Redmayne as Marius), it did cause occasional intonation and timing issues. The propensity for actors to speak-sing also became hackneyed.
The cast is exceptionally strong, but it is Anne Hathaway who excels as Fantine. Her delivery and commitment to the role is absolutely superb. In the title character of Jean Valjean, Hugh Jackman oozes the necessary panache; however some of his musical decisions are questionable. Similarly, Russell Crowe provides a solid performance as Inspector Javert, but his singing lacks conviction, resonance and tone quality.
Elements of the original stage show have been advantageously altered, such as moments of dialogue and subtle plot points. The film-specific orchestration and additional music generally worked well.
There is very little actual dialogue, but it seems that much of the singing is treated as such, with the accompanying orchestral score becoming standard background music. This is a disappointment considering the orchestra and singers are collaboratively the most integral aspect of the film. Without the sense of homogeneity, the music is neither as desirably immense nor gratifying.
Despite this, the more complex ensemble numbers that often traverse a vast setting, such as ‘One Day More’, are handled very well.
Nothing can ever compare to witnessing a live performance in a theatre, but Tom Hooper’s Les Miserables really does come close. It is a truly outstanding venture and an example of first-class film making.
Kryztoff Rating 4K
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